At this time, in the same temple.

"You kid, where did you get these things?" looked at the incense burner in front of him, it was hundreds of years old.

The incense burner is an indispensable utensil for incense, and the incense burner is an indispensable offering for Chinese folklore, religion and sacrificial activities. The incense utensils used in the past dynasties include different types of incense burners such as Boshan furnaces, hand stoves, incense buckets, horizontal stoves, and incense tubes, as well as supporting utensils such as smoking balls, incense sticks, incense plates, incense boxes, incense clips, incense shovels, incense spoons, incense tubes, and incense sachets.

The materials used in the incense burner mainly include copper, ceramics, gold and silver, bamboo and woodware, enamel and jade. It can also be used for a variety of purposes, such as laventer, furnishing, or worshipping the Buddha and worshipping the Buddha.

The shape is usually square or round, the square incense burner generally has four legs, and the round incense burner has three legs, one foot in front and two feet in the back.

When did the incense burner originate, there is no conclusive conclusion, Zhao Xihu's "Dongtian Qinglu Collection, Ancient Zhong Ding Yi Instrument Identification": "In ancient times, Xiao Aida was a god and did not burn incense, so there was no incense burner. Today's so-called incense burners are all based on the sacrificial vessels of the ancients. Jue furnace is the ancient Jue, the furnace is the ancient foot bean, the incense ball is the ancient mustache, which is not the same, or there are new casts like the ancient. However, the Boshan furnace was used by the Han Tai uterus, and the production of the incense burner began here. ”

However, judging from the earliest incense burner in later generations, like the brown glaze incense of the Yue kiln in the Eastern Han Dynasty, it has a vivid shape, simple and natural, and does not have a tray.

The upper part is composed of three layers of budding lotus petals, each row of eleven petals, abstracted into a triangular shape, and each petal is engraved with stems of different sizes, which are very clear. The top of the lid is decorated with a delicate bird, slim and elegant, looking into the distance, and the lower half is a cylindrical hollow pillar.

The Jin Dynasty Yue kiln green glaze furnace has been very close to the traditional incense burner, and it is also a three-legged tripod, but there is an elegant handle, and there is a whirlwind work on it, the workmanship is exquisite, which makes people have infinite reverie. The incense burner of Hongzhou kiln in the north and south dynasties, the glaze color is blue-yellow, it is five legs, thick and strong, standing firmly on the tray, intact.

Tang Sancai incense burner is relatively rare, the exposed tire is pink, yellow, green and brown painted combination, the glaze naturally flows downward, the five-clawed tiger foot, it looks calm and vigorous.

Emperor Zhao, who was born as an aristocrat in the Song Dynasty, had a very high level of cultural literacy, liked retro, and attached great importance to old ritual utensils. The three-legged tripod incense burner is the product of the Northern Song Dynasty retro, due to the large number of bronzes, jade and pottery unearthed in the pre-Qin period, in the seventh year of Yuanyou (1092 AD), the full-time cultural relics keeper of the palace Lv Dalin compiled the "Archaeological Map", 210 pieces of bronze and 13 pieces of jade were collected. Since then, the identification of cultural relics has been integrated with academic research, which was not available before the Song Dynasty, which has opened a precedent for the study of cultural relics in later generations, and also laid the foundation for the comprehensive imitation of pre-Qin ritual ware for porcelain.

The incense burner appeared in the inner courtyard of the Great Song Emperor, and some small incense burners became the things of the literati, which had high artistic appreciation value and were imitated by later generations.

Song Yaozhou kiln incense burner, it is developed under the influence of the Yue kiln, the lip of the furnace is wider, the glaze is green and natural, and it has the reputation of "as clever as Fan Jin, fine than jade".

The plum green incense burner in the Longquan study of the Southern Song Dynasty is delicate and elegant, three-legged, the body of the furnace has three lines, and the soles of the feet are brown.

The incense burner of the Yuan Dynasty did not get rid of the fashion of the Song Dynasty, and there were many quantities and varieties, mainly small and medium-sized incense burners. Hutian kiln blue and white glazed double-eared three-legged incense burner, the furnace is open and straight-necked, the drum belly is flat and plump, a pair of rectangular vertical ears are pasted on both sides of the shoulder, and there are obvious embossed animal face patterns at the root of the foot, and the whole body is covered with green and white glaze, the tire is hard and greasy and white, and the glaze is moist and opaque.

Most of the incense burners in the Ming Dynasty are mainly blue and white porcelain, the blue and white incense burner in Jiajing of the Ming Dynasty, there are also colorful colorful porcelain, Emperor Xuande of the Ming Dynasty himself is a highly talented artist, very sensitive to color, and the colorful and colorful porcelain has been unprecedentedly developed.

Like the unearthed Ming Wanli five-colored figure three-legged incense burner, the five-color ware of the Wanli period was made to its heyday, it is characterized by a thick carcass, glazed milky white and moist.

The three illuminated patterns are very well decorated, and the old man is dressed in a coat of crimson, pale yellow and grass green, with a calm expression, flowing eyebrows, or immersed in reading, or bowing his head in contemplation, or waving at his desk. The neck has a "Ming Wanli year" model.

After the rulers of the Qing Dynasty entered the Central Plains, they ruled the world with "filial piety", and the sacrificial atmosphere prevailed during the Kangxi period, and the Qianlong period became a period of unprecedented prosperity for social development.

A generation of famous masters and craftsmen in Jingdezhen, with their ingenuity, pushed porcelain production to the peak of history. Qing Qianlong bean green glaze double-eared three-legged furnace, fine porcelain, thick glaze, full of glaze inside and outside, smooth and even, like fat like jade, the ears are naturally connected, elegant without losing elegance. At the bottom, there is a blue glaze model of "Qianlong Year of the Qing Dynasty".

The imperial incense burner of Guangxu in the Qing Dynasty was made of jade, which was very thin, and it is said that the light source could be seen from the outside when hit with a flashlight......

And Ji Qing didn't know where to get the incense burner, and Xi Yuan couldn't tell which period it was a product for a while.

"After all, I don't know much about these things, and I thought that the teacher was more interested in studying these things on weekdays, so I simply brought them to the teacher to keep them. Ji Qing scratched her head a little embarrassed.

"Snort, don't find a reason awkwardly, if you can do this, it means that you have this heart, how can I not appreciate it as a teacher? Rest assured, I have always accepted it as a gift, since you dare to put this in front of me, I dare to accept it as a collection. ”

"However, even if I receive gifts, I will never give any special care to students, so you can put away your other thoughts. ”

Unexpectedly, this teacher is still a thorn, on the surface he is quiet, but secretly he is the former "strongest Tianfeng" master of the school palace.

It's just that,Later, because of some accidents,Seriously injured.,So rarely do it with people anymore.,So the same hall has never confiscated students again.,Before that,,The same hall still accepted nearly thirty students.,But because of this matter,,The students left one after another.。

Come to think of it, it's also for this reason that the same hall is gradually forgotten by the students of the school palace, right?

"By the way, teacher, by the way, I also want to ask, the origin of this nine-trick jade......"

The Nine Orifices of Jade refers to the nine pieces of jade that are clogged or covered on the body of the deceased.

The so-called "nine orifices" refer to a person's two eyes, two nostrils, two ear holes, a mouth, as well as the genitals and anus.

The "Nine Tricks Jade" refers to 9 pieces of jade stuffed in these parts: 2 pieces of eye plugs, 2 pieces of nose plugs, 2 pieces of ear plugs, 1 piece of mouth plugs, 1 piece of anal plugs, and 1 piece of genital plugs.

Among them, the eye plug is also known as the eye eyelid, the rounded corners are rectangular, the nose plug is slightly cylindrical, the ear plug is slightly octagonal prismatic, the mouth plug is like a crescent moon, there is a triangular protrusion at the middle end of the inner side, and the mouth plug can not be fully contained in the mouth, which is different from the "jade" mentioned below; the anal plug is vertebral shaped, and the thickness of the two ends is different; the genitals are a short cong shape in males, closed at one end, and a short pointed head in females.

The Nine Tricks Jade Plug is derived from the belief that "if the gold and jade are in the nine emptiness, the dead will be immortal" (Jin Gehong's "Hug Puzi").

This is consistent with the Han Dynasty's statement that wearing a golden jade robe can immortalize the corpse.

In ancient China, there was always an almost superstitious worship of jade, and it was always believed that jade could make the living safe and the dead immortal.

Therefore, the use of jade in funerals is also a very important step. In the funeral culture of various periods in China, there are customs such as the use of jade sacrifices, burial and so on.

"You're also interested in collecting antiquities?" asked Xi Yuan.

"It's just a trinket that just came out of the ancient tomb, and I got it from the Taozhu Pavilion in the middle of the town. Xi Yuan explained while playing with the incense burner given to him by Ji Qing.

"It's just right, this thing has a little flaw, you can help me take it for repair in a few days, if you have anything to ask, just find someone in the building." ”

"Ancient ...... Ancient tomb?" Ji Qing suddenly remembered the large-scale game of the same name, then again, he had played it before.

"Whew...... It's pretty cool, but in terms of quality, it can't be compared with the jade wall in Yongcheng at all, not only that, but even the advantages and disadvantages of Lingqi can be clearly distinguished. ”

If the jade wall is a chef's carefully cooked meal, then this nine-trick jade is at most a steamed bun, which can only be eaten in one go, and cannot be eaten in one go.

Speaking of which, when he was drinking and chatting with Brother Wei before, he seemed to have said something similar, the original source of Yongcheng Yubi was the photo wall of a royal mausoleum in the Yin Shang period, which was used to record the life and deeds of the owner of the tomb. ”

"In this way, it makes sense, Shao Hao's bones were originally related to corpses, could it be that some of them can be carried by jade, which can just make up for the lack of Shao Hao's bones?"

"My cultivation of the pill impact ground lock, the consumption of Shao Hao's bones will only be greater, I have to figure out this matter as soon as possible. ”

"By the way, teacher, where did you find this Nine Aperture Jade?" Ji Qing suddenly remembered an important question, and then went back to ask Xi Yuan.

"You really want to know?" Rhino Yuan raised an eyebrow.

"Hmm. ”

"Okay, then I'll tell you, this was found on a female corpse, as for the location, think about it yourself, I won't tell you more about it as a teacher......"

"It won't be...... "Ji Qing seemed to think of something bad, and threw the Nine Tricks Jade straight out.

"Hey, stinky boy, don't throw it away at me!

At this time, Ling Hao was watching Yao Rong sing the lyrics "Yang Guifei" that he wrote for her.

I could only hear Yao Rong singing tactfully and melodiously:

"Tired and tired hairpin as evidence, the Son of Heaven personally gave it in the past, don't remember the style, talk about him, a moment of grace and long, and pay Linqiong, three thousand weak water east, clouds and red, the moon shadow has long melted,

There is a lot of way to go, the way to come is lost, and I look back on an empty ......"

Originally, this was the work of a master of Noh theater, but now I can use it for a while.

There are no theatrical performances in this world, and his arrangement in Wuchuan Town is at most to experiment, but now, he suddenly found that Yao Rong seems to have this characteristic very much, and she may be a natural theatrical actor.

Although some ridiculous things have happened between myself and her, this does not prevent me from having some commonalities with her, such as now, she is a performer and she is an audience.

"Flashy dreams, three lives are insignificant, there is no trace of karma, although it is lovely, why reunite, rest and live, who should pass away, there is no end to the east, and keep Penglai Palace, far impermanence, song Qingping. After a while, Yao Rong used a mournful tone and expression to express the poignancy of this paragraph.

"Good, you're already free to handle the role. Ling Hao gave Yao Rong a round of applause.

Although he was the only one in the audience, this did not prevent him from enjoying Yao Rong's performance as an audience.

"It's the son who teaches him well, and the slave just shows what the son writes and thinks. ”

"You have already acted very well, as long as you practice more, you will definitely be able to show the true charm of Yang Guifei. ”

"Thank you for the compliment. Yao Rong was rarely happy, and this man praised her once with some surprise.